. . . [Owens' Alberich] arguably owned this production of "Rheingold". He put forth a dazzling effort both vocally and theatrically and virtually stole the show. The life force of this production was strong when he bristled and snarled on stage . . . It's a colossal effort, both vocally and theatrically. His attention to Alberich's character gives this Ring Cycle the vital, up-front propulsion it needs to be a full-blown success . . . The remaining cast of "Rheingold" sings quite beautifully, with Bryn Terfel (Wotan) in particular standing out. But the rest of the cast does nearly as well . . . you get to see the liveliness and immediacy of the staging and you get to evaluate and, hopefully, enjoy the quality of the singing where you are, to the best of your ability, sitting in optimal seats that capture the hall's best audio . . . You get to see a lot of the detail that even guys with expensive seats and powerful opera glasses just can't make out . . . The orchestra, under James Levine, sounded terrific--full, rich, and romantic . . . performed this massive score, alternating subtlety with brilliance, contemplation with passion, not only doing complete justice to Wagner's score but helping bring out the best from the opera's soloists as well . . . [Brünnhilde (Deborah Voigt)] emerges front and center as the real heroine of the Ring . . . there was a sincerity and passion in her delivery . . . More affecting still from a sheerly emotional point of view, was the inspired pairing of Jonas Kaufmann and Eva-Maria Westbroek as Wotan's tragic twin children. It's here for the first time in this cycle, that we saw and heard real chemistry between a pair of leads. Impetuous and spot on in both character and vocal skill, Mr. Kaufmann was a marvelously complex and sympathetic Siegmund, unveiling a voice of uncommon nuance and dexterity, able to navigate Wagner's lengthy phrases with a superb legato buttressed by exquisite phrasing. Ms. Westbroek's Sieglinde matched him perfectly, with a robust and passionate instrument that burst into glory . . . Mr. Kaufmann and Ms. Westbroek possessed such skills many times over in this highly affecting performance . . . both Mr. Terfel and Ms. Voigt kicked into high gear in "Walküre's" literal cliffhanger finale . . . Mr. Terfel's Wotan was able, at last, to fully embody the conflicted chief god that his character has become . . .

This huge Met production of The Ring is fascinating in many ways . . . There are some unique effects, particularly when each valkyries "rides" a moving plank representing a horse, and later slides down the ramp . . . The background planks often are moving, and it is impressive to watch their changing configuration . . . The Met performances are sterling with superb over-all casting. Jonas Kaufmann is an ideal Siegmund and it always is a pleasure to watch him perform; he is fearless and has the power for this heroic role. Eric Owen is a definitive Alberich, Hans-Peter König powerful as Hunding, Fafner and Hagen. Eva-Maria Westbroek is a convincing Sieglinde, Stephanie Blythe almost a force of nature as Fricka . . . Deborah Voight, in excellent form as Brünnhilde, dramatically is outstanding. Waldtraud Meier, herself one of the great Wagnerian sopranos of our time, is magnificent as Waltraud. The Rhine maidens and Norns are perfect -- what a pleasure it is to have these roles sung by sopranos who look their parts . . . Morris is outstanding in this most difficult of all tenor roles, a fine actor as well. Of course the Met Orchestra is magnificent, particularly in the first two operas conducted by James Levine. Surely all lovers of Wagner will wish to view this unique Ring . . . there are some amazing moments . . . An outstanding performance of Wagner's Ring is a rare thing, and this is one of them . . .